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  • Editorial: (Re-)emerging territories of expression
    As variously situated as these cases are, they all have in common the presentation of territories of expression which (re-)emerge – from forgetfulness, from calculated oppression, from a set of historical and/ or natural coincidences, or a combination of all of these.
  • Project Morrinho: fighting the grand narrative of the favela
    In current discourse, the word favela connotes social problems, segregation and urban violence. A historical reading, however, reveals that the favela has been a topic of debate for at least a century, concurrent with a chain of images and representations that diverge from the social constructions that politicians, writers and social scientists have built up over the years
  • An emerging audience-sphere in South Asia
    Local contemporary artworks are undoubtedly promising and are also seen in the international contemporary art scene. However, what happens is that the art at home fails to create a local audience for itself.
  • Political graffiti & art interventions’ transformative function in the urban landscapes of Sofia
    During the past few years grafitti has served as a mechanism for revival and return of “forgotten” issues back into the mainstream public discourse in Bulgaria, and as a powerful antidote to the mainstream public and private mass media's “selective blindness” due its opaque ownership structure, concentration and constant deterioration of media pluralism and freedom.
  • Contestative art from Southeast Asia
    Co-opting the public, enticing them to confront questions of citizenship, to consider individual responsibilities and their consequences for the collective, is one of the tactics that were extensively explored in three recent landmark exhibitions on Southeast Asian contemporary art.
  • Suspending Freedom: Image Politics and propaganda in Egypt
    In order to control a nation that had already toppled two presidents in the course of three years and to firmly establish his position as Egypt’s one true leader, President Abdel Fatah El-Sisi approached governance with a classic authoritarian approach: establish a condition of fear, silence opposition voices and disseminate favorable images of the regime and its institutions.
  • Reclaiming Indigenous voices and staging eco-activism in northern Indigenous theatre
    Indigenous eco-theatre synthesizes contemporary indigenous concerns for climate change (which is already dramatically affecting Indigenous economies, lifestyles, and self-governance) with concerns for the emancipation of indigenous peoples
  • ### New Year's Supplement:
    Seismopolite takes the change of calendar as an opportunity to present a small selection of texts, which demonstrate actuality in somewhat different respects as well as in their combination.
  • Killing Pots. The Community Museum of the Xico Valley, Mexico, and a project by Jorge Satorre
    The distinction between functional objects and dysfunctional ones constitutes a dialectical point of tension, employed by Satorre but also constantly enacted by the Community Museum, on the one hand preserving the object, but also registering the memory of its non-scientific use, and implying a spiritual or talismanic power that remains intact in all the passages of hands and material states.
  • At the Turn of the Centuries: Art and Politics in Sri Lanka
    The paintings of the new generation of artists had distinct colours, were expressive in style with a mostly fragmented composition. At the same time they focused on the statement and the communicated message of the painting, which often combined the political and the personal level.
  • Music, Politics and the Imagination: Béla Bartók’s Concerto for Orchestra
    What allows us to regard Bartók’s Concerto for Orchestra as political? There are indeed elements in the work, the appearance of themes, patterns of rhythm, elements of formal structure that serve as evidence. There are statements attributed to Bartók that articulate a political critique. The question that remains is that of the warrant.
  • Music for the New Year
    Béla Bartók’s Concerto for Orchestra with commentary by Howard Meltzer.